Record Store Day Delights (Part 1)

What does a writer do when he fractures his arm?  I can't answer for anyone but myself and tell you the writer listens to myriad of Historical Jazz albums released by Resonance Records, Cellar Live/Reel to Reel, and Jazz Detective Records.  2024's Record Store Day welcomes 12 (!) new recordings all touched by the genius that is Zev Feldman. Here's a quick look at three of those albums.

In February of 1959, tenor saxophonist Sonny Rollins went on a European tour bringing bassist Henry Grimes and drummer Pete LaRoca Sims along. "Freedom Weaver: The 1959 European Tour Recordings" (Resonance Records) is a four-

LP/3-CD package that presents music from radio concerts and live dates in Sweden, Switzerland, France, and Germany. Along the way, Sims is replaced by Joe Harris (new name to me) and, in France, by Kenny Clarke.  Some of this music has shown up on bootlegs over the decades; however, the sound quality was spotty and here it's downright stunning.  Grimes and Sims are perfect accompanists who are attuned to Mr. Rollins every move, every zig and zag. Harris, a native of Pittsburgh, PA, was a first-call drummer in New York City in the late 1940s and early 50s but moved to Sweden in 1956 and to Germany in 1961.  He fits in perfectly with the Trio on the nine tracks – interestingly, he and Sims switch seats on the Radio Zurich date and several of the club/concert dates.

If you're a fan of Sonny Rollins, buying this set is a no-brainer. For new arrivals, "live" Sonny is a good place to start. His solos are most often delightful stream-of-conscious explorations Several of the songs are repeated but, of course, each version has its charms and highlights.  The saxophonist is three-to-four months away from his self-imposed sabbatical but never sounds as if he's struggling.  The three side-long tracks with Clarke and Grimes, recorded March 11 in Aix-en-Provence, France, are notable for the long sax solos, for the veteran Clarke's interplay with Rollins, for Grimes' solid foundational work, and for the playfulness of the Trio.  

Three hours of Sonny Rollins is a gift that keeps on giving. It's great to hear his voice on the radio broadcasts, his musical "quotes" on the long interactions with Clarke and during many of the solos, The booklet that accompanies has great interviews. never before seen photos, and more.  "Freedom Weaver: The 1959 European Tour Recordings" is certainly worth your time and attention!

For more information and to purchase the CD release (on 4/26), go to either https://resonancerecords.org/product/sonny-rollins-freedom-weaver-the-1959-european-tour-recordings-cd/ or https://sonnyrollins.bandcamp.com/album/freedom-weaver-the-1959-european-tour-recordings (where you can also purchase the digital release).

Here's the title track:

When one mentions Art Tatum to a jazz aficionado, chances they'll remember his amazing facility, the speed of his lines, his ability to transform all kinds of material into party. If one really sits and listens, his creativity and wit come shining through. Resonance Records has just issued "Art Tatum: Jewels 
In The Treasure Box – The 1953 Chicago Blue Note Jazz Club Recordings", a three LP/three CD set that features the great pianist with guitarist Everett Barksdale and bassist Slam Stewart.  

This is a delightfully formulaic program.  The pianist introduces the song, the bassist enters sometimes with the guitarist, sometimes a chorus later.  What makes it so easy to take is that Messrs. Tatum, Barksdale, and Stewart are such good musicians – Tatum's virtuosity can often be overwhelming but his Trio mates are more than up to the task. Especially Stewart, whose foundational lines and swing are so strong, the pianist's left hand is free to help create dazzling solos.  Many of Stewart's solo are bowed with him "buzzing" right along and every one is pretty impressive.  The guitarist is also a strong rhythm player and he digs right into each solo – Barksdale does not worry about overshadowing the leader (as if anyone could) so he swings with glee every opportunity he gets. 

The sound quality is quite good with Stewart's bass high in the mix. Barksdale's solos come through loud and clear but pay attention to how closely the pianist listens and responds.  Just about every tune they present features "quotes" liberally sprinkled through the solos. There are several ballads in each set (the program is built from tapes made by the club's owner Frank Holzfeind over the two-week run of shows) yet even those tunes have a playful edge.

"Art Tatum: Jewels In The Treasure Box – The 1953 Chicago Blue Note Jazz Club Recordings" is most definitely a "treasure". Art Tatum's milieu was the performance space. That's not to say his studio recordings don't shine but there's something about an audience, about the smells and sounds of the nightclub that brings the best of the pianist.  The booklet features an excellent essay from Brent Hayes Edwards plus interviews with Ahmad Jamal, Spike Wilner, Sonny Rollins, and others.  Great music is timeless as are the artists who create the music. Search out and enjoy!

For more a link to purchase the CD, go to https://resonancerecords.org/product/art-tatum-jewels-in-the-treasure-box-cd/.  For the digital download, go to  https://arttatumresonance.bandcamp.com/album/jewels-in-the-treasure-box.  

Here's a taste of the Tatum Trio in flight:

If drummer Shelly Manne had so chosen, he could have made a very good living in the 1950s as a session player and in the film studios.  Instead, he did all that plus owned a nightclub ("The Manne-Hole") and led an acclaimed band ("His Men"). The son of a drummer, Manne was known to all as a consummate musician, generous with his time and praise. He also write the scores for several movies and television shows. "Live From the Pacific Northwest' (Reel-to-Reel) is a bit of a misnomer in that one of the two Lps/CDs is from the inaugural edition (1958) of the Monterey Jazz Festival based in California. The second disk does come from the band's September 1966 extended stay at The Penthouse in Seattle, Washington. No need when the music is as solid, swinging, and witty as the nine tracks in the program.

The Monterey session features Manne with his constant bassist Monty Budwig plus pianist Russ Freeman, tenor saxophonist Herb Geller, and trumpeter Stu Williamson.  The highlight of the three-song set is the 18-minute "Quartet (Suite in Four Movements)". Composed by Bill Holman, whom Manne met when both played in the Stan Kenton Orchestra in the late 1940s, the piece offers smart melodies, fine solos from all involved including a long drum solo interrupted near its close by a low flying plane.  Overall, a pleasing journey of hard bop, blues, swing, and more. Geller is a facile tenor player while Williamson leans more to the Clifford Brown school of clean, clear lines. Pianist Freeman, whose long career included stints with Chat Baker, Art Pepper, and the Manne "Men", also recorded great albums with Andre Previn. Here, he shows how, like Budwig, is a stalwart of the rhythm section plus he's a fine soloist.

Disc two was recorded live by Seattle radio station KING-FM, featuring half of the songs recorded on September 7th 1966 and the other three on September 15th.  Besides Budwig, the Men now consist of pianist Hampton Hawes, flutist and alto saxophonist Frank Strozier, trumpeter Conte Candoli - vocalist Ruth Price appears on two songs. Like the 1958 band, this group really swings and often shines. That said, they also create unique takes on several standards.  "Summertime" is introduced by a fascinating drum pattern before moving into a swinging blues. Strozier's flute is out front for the first third of the 12-minute tune followed by a sweet muted trumpet solo from Candoli (sounding a lot like Miles Davis). Hawes' "Funny" leads off the later date – it, too is a blues but has a funkier edge. Candoli dances along with the drums until Strozier jumps in alto sax here. His Memphis, TN, roots come flowing through his rapid-fire phrases. The composer creates a joyful solo that is gritty as well as smooth.  

As stated above, Ruth Price, who sang with for better part of the 1950s through the late 1960s, is featured on two songs. First, she and Hawes swing through Jerome Kern and Johnny Mercer's "Dearly Beloved".   he horns sit this one out allowing for a rippling solo from the pianist. The album closes with Ms. Price leading the rhythm section through "Surrey With The Fringe On Top" – note how Manne plays the edge of his snare in the same fashion as he opens Sonny Rollins take of "I'm An Old Cowhand" on 1957's "Way Out West".   

Overall, 'Live From the Pacific Northwest" is a treat from beginning to end. If you think that Shelly Manne & His Men played lightweight Pacific Coast jazz, just listen.  This music is alive from start to finish. Sound quality is downright pristine; it feels like you're sitting right next to the bandstand! Classy album and you should dig right in! Enjoy the interviews in the booklet with Ruth Price, Bill Holman, Joe LaBarbera, Peter Erskine and Jim Keltner

For more information and to purchase the CD and the digital version, go to https://shellymannehismen.bandcamp.com/album/jazz-from-the-pacific-northwest. 

Here's Mr. Manne & His Men swinging: